Pep Up Pep up When I presented Lafayette in hand for the first time, it was at the demand of a dressage group. I used the music from the movie “Barry Lyndon,” which was a very slow tempo. Lafayette was able to do it because of the long training he had with the rehabilitation from his right hind leg coffin bone fracture. As I exited the dressage ring, three dressage queens approached with polite grins on their faces. They said, “nice, but can you pep up a little bit?” They could have asked why a presented the horse at a slow tempo, or even better, how Lafayette does it, but they were locked in their beliefs, anxious to criticize anyone that did not fit in their little box. At this time, they were defined as “dressage queens.” They were the early version of actual keyboard riders. Their belief is a cult, and they must aggressively protect their faith from facts. I followed Mark Twain’s advice, “They will drag you down to their level and then beat you with experience,” I said “No” and left. I walked away with Lafayette, and an angel was there, maybe twelve years old, with long blond curled hair and blue eyes looking up. She had a piece of paper and a pen on her chess. Her mother told me, “She wants an autograph.” I said yes, of course, and I signed my name. The young girl looked at her paper very disappointed and told me, “I don’t want your name; I want the Horse’s name.” Thirty years later, she is still an Empress in my heart. Jean Luc
Disconnection San Diego was severely disconnected when I purchased him. His trot was short and jerky. He was not comfortable to sit. He was capable of jumping large jumps but was not ridable in the show jumping ring because he took off like a maniac at the landing of the jumps. The rider did not connect the jerky trot and the problem over the jumps. Mechanical thinking thinks a horse jumps at the canter, so who cares about the trot? As a result of the disconnection, the horse developed pathology at the level of the right hind leg annular ligament.
Horse Ballet
Jean Luc Cornille
“Musicians in general are intelligent and the time spent on extensive explanation and advice is well spent.” (A. B. M. (Boni) Rietveld, Dancers’ and musicians’ injuries)
“Injuries are caused by bad luck, fatigue, and stress, but, most of all, by faulty technique.” Boni Rietveld is an orthopaedic surgeon who devoted his professional life entirely to the prevention, diagnostics, and treatment of dancers’ and musicians’ injuries. Analogies between humans and equines have to be approached with extreme caution as there are considerable differences between human and equine physiology and neurophysiology. However, as well as for dancers and musicians, the main cause of horses’ injuries is faulty techniques.
Through 30 years of experience, Dr. Rietveld has observed that faulty techniques were often due to ignorant compensation for physical limitation. Through the same period of time I have observed that faulty techniques in equestrian education were often due to ignorance of the athletic demands imposed on the horses’ physique by the performances and consequently incapacity of the trainers to identify and correct horses’ faulty compensations. Trainers know how the movements are supposed to look like but lack sound understanding of the underlying biomechanics factors. In dance, ignorant compensations for physical limitations form a structural predisposition for dance injuries. As well, improper analysis or ignorance of the horse’s physical limitations allows compensations predisposing the horse for injuries. Rietveld comments, “The dance teacher is the first line of defense in the prevention of dancers’ injuries.” In parallel, the horse’s teacher is the first line of defense against injuries. Unfortunately, when knowledge is lacking, trainers and self-proclaimed masters becomes the main factor of equine injuries. They advertise rehabilitation but they deliver debilitation. For instance, when lateral m
"There Is A Better Way" Science Of Motion Jean Luc Cornille.
Joining Forces: The Master’s Journey by Elizabeth Uhl, DVM, PhD, Dip, ACVP
Being able to work so closely with Jean Luc and Pascalina has been very enlightening. The work with her, as well as with Bentley, combined with discussions with Jean Luc have gotten me thinking about the journey toward mastery. This kind of journey is personal and never ends as it requires constant learning and continual self-improvement. However, such journeys’ goals and are ultimately more similar than they are different, so we can share experiences as we learn from Jean Luc’s guidance. Here are some of the things I have learned in hopes they will be useful.
Do not fool yourself – learn to think again: The mastery I have dreamed of is becoming a centaur in the sense of merging to be one with a horse. However, such a merger is dynamically fluid and the static resistance way of the ‘classic’ riding I was taught has often gotten in the way. Jean Luc overcame this problem as he learned to create the dynamic connection by paying close attention to what horses were telling him. This required awareness of the need to immediately reject what he had been taught, or assumed to be true, if it conflicted with their message. His ability to do this on his own is both amazing and courageous, as a more common tendency is to have one’s identity and self-worth tied to beliefs and the approval of others rather than being firmly rooted in values. When this happens the ‘Totalitarian Ego’, as Adam Grant calls it in his book “Think Again”, steps in to fiercely defend beliefs even to the point of denying obvious evidence that they are wrong (i.e.: the horse is tense, unhappy, not making progress and/or lame). I admit I went through periods where my totalitarian ego took over and I went into denial about how we were doing, but luckily Jean Luc and my horses were always brutally honest. They invalidated my excuses and taught the important lesson of humility. The admission I was wrong and real
Lafayette and I walked side by side for a year, refining the horse and human capacity to communicate through subtle nuances in muscle tone. Lafayette initiated the Science of Motion’s work in hand. Humans and equines have a capacity for communication that is far more refined than the usual rider aids. The level of refinement is comfortable for horses as they have a perception capacity superior to us. Everyone can reach this level of refinement, but it is not a trick that can be added to usual training systems. It is a journey where the horse teaches us to discover our true potential. Join us in this journey. It is truly another world. Jean Luc Cornille
A Case of Kissing Spine
The Science of motion approach to kissing spine is to identify the spine dysfunction leading the dorsal spines to touch and correct the dysfunction with adequate gymnastics.
Let the reductionists be. Believe in knowledge, your skill, and your horse.
We posted recently in Reel the video of my horse performing Tempi Changes. Years earlier, the horse was lame and diagnosed with a severe case of navicular syndrome. I attempted his rehabilitation, encouraged by L. Ostblom” research finding that navicular changes were remodeling instead of degenerative disease. “The findings introduce the thought that navicular disease is not primarily caused by ischemia and subsequent necrosis, but rather is the consequence of increased activation of bone remodeling caused by altered pressure from the deep digital flexor tendon on the bone and increased load on the caudal part of the foot. The disease is, therefore, considered to be reversible and may be alleviated by altering the load on navicular bone by special shoeing.’ (L. Ostblom, 1982) Having already, through the practical application of advanced scientific discoveries, observed that the most efficient way to reduce the load on the hoff was acting on the direction, intensity, and frequency of the forces loading the front legs from the thoracolumbar spine down to the hoof, I did not limit my horse’s rehabilitation to corrective shoeing. I focused on identifying and correcting the source of the forces loading the right front leg abnormally. It was an inverted thoracic spine rotation, shifting the dorsal spine toward the right and loading the right front leg. I observed then that the corrective shoeing hampered my ability to correct the right front leg’s aberrant kinematics, and I removed the corrective shoeing in favor of simply correct shoeing.
At first, the horse was so lame that he could not carry a rider, and I started the rehabilitation working in hand. The in-hand technique I use differs widely from all in-hand approaches. I discovered that a horse can feel subtle adjustments in my back and body tone even walking by the horse’s side. I developed a in hand technique exploiting this ph
The Science of Motion therapeutic approach is to identify and correct the source of the abnormal stress that causes the lesion instead of focusing on the lesion. When I rehabilitated the first horse with navicular syndrome, the question I had in mind was, is a horse capable of keeping the proper body coordination on his own?
The answer is yes. Here is the horse you saw performing tempi changes. He is playing with his girlfriend in turn out. The horse maintains safe body coordination throughout.
Jean Luc
The horse was diagnosed with navicular syndrome five years before this video. The horse was lame and two vet schools advised euthanasia. The source of the kinematics abnormality stressing the navicular apparatus was an inverted rotation of the thoracic spine. I corrected the inverted rotation and restored the correct limb kinematics. The horse regained soundness. Interestingly, the horse could not perform tempi changes before the navicular episode. The thoracic spine dysfunction that hampered the horse's ability to perform tempi changes was the spine dysfunction that caused the development of navicular syndrome.
Jean Luc Cornille
The video explains the relation between laterial bending and transversal rotation. Bending and rotation are always coupled however the rotation can be proper or inverted. Jean Luc Cornille